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Rare hard funky soul from early 70s titans Damn Sam The Miracle Man – and some of the rawest, fiercest funk we've ever heard! Damn Sam is actually a group – spearheaded by vocalist OC Tolbert – a man with a roaring voice and righteous delivery that could tear through brick – and producer Jack Taylor. If not for the amazing funky 45 tracks "Damn Sam The Miracle Man", "Smash" and "BJ" – all of which appear on this long lost LP – they may have been obscure to even the most diligent crate diggers, an argument in favor of that format if there ever was one. The group is a real killer, with absolutely pummeling funky drums and snapping electric congas & bongo work on just about every track – plus soaring trumpet and sax work that counterbalance the fury of Tolbert's vocals nicely. Tolbert's history with gospel lends a genuine spiritual aspect to the frenzy, too – one of the sweetest raw funk tornadoes you could every hope to get swept up by! Other tracks include "Give Me Another Joint", "Let Me Be Your Only Man", "LA 26000", "Poor Mary", Music Makes You Feel Alright", "Rainy Night In Georgia", and "Sonny B".

Pretty sweet stuff from Damn Sam The Miracle Man – a tune named after himself, and delivered like some bad-rapping theme song all the way through! There's a hip groove to the cut that's almost blacksploitation funk – as is the presentation of Sam's lyrics, which have a swaggering confidence that really sends the whole thing home! "Give Me Another Joint" is a heavy bit of funk too – fast guitar and rhythms that really move nicely right from the start – and these vocals from Sam that really go over the top in the middle!

A deluxe box set of rare Funky 45s on NYC producer Jack Taylor's Rojac and Tay-star labels – and featuring represses of key classic 45s, along with a bonus single with a new Kenny Dope edit – and a pair of 7" Rojac logo slipmats! It's a great batch of singles – featuring some largely lost, though legendary numbers by Big Maybelle, Third Guitar, Little Jewel, Damn Sam The Miracle Man, Chico Buddy and others. The set is well chosen to highlight the crème of the crop of Rojac and Tay-ster's releases from the late 60s to early 80s – with raw and slightly more tender soul singles, some wicked 70s funk, and a couple post disco groovers. Great stuff all the way! The box itself is nice, too, with a faux alligator skin texture and a handled fliptop lid. It includes seven old school Rojac and Tay-ster 45s – plus a bonus red colored vinyl 7" featuring a pair of Kenny Dope edits – and the twin Rojac slipmats. Titles include "Can't Wait Any Longer" and "Quittin' Time" by Big Maybelle, "A Thing Call The Jones" and "Can You Dig It" by Chico And Buddy, "I Want To" and "It Doesn't Matter" by Little Jewel, "Been So Long" and "Down To The River" by Third Guitar, "Damn Sam The Miracle Man" and "Give Me Another Joint" by Damn Sam The Miracle Man & The Soul Congregation, "I've Got It" and "Lucky Man" by Tolbert, "Are You Experience" and "Whip You" by Chuck-A-Luck & The Lovemen LTD. The bonus single is on red vinyl – and features a Kenny Dope edit of "Baby Don't Cry" by Third Guitar, with a flipside instrumental.

Two great new tracks from Gyedu Blay Ambolley – both reworks of older Afro Funk classics! "Mumunde" features sharp arrangements from Ebo Taylor – and a tight groove that has the vocals wrapped firmly around the tune's infectious rhythms – a blistering blend of bass, guitar, and percussion – topped with a bit of chorus vocals as well. "Fa No Dem Ara" is even better – a really funky track with some great organ in the middle, and a groove that's almost more James Brown than Afro Funk!

A righteous bit of soul – one of the only non-jazz albums we've seen on the Muse label, and a really great session that reminds us of work by Alice Clark and Esther Marrow – two other overlooked 70s soul singers who also recorded for jazz labels! Rickie's got a deep soul approach to the vocals that's nicely inflected with jazzy work by players that include Tom Malone, Kalaparusha, Buddy Terry, Warren Smith, and Howard Johnson – the last of whom arranged and conducted the backings, and gives the album a full-on and progressive feel. Rickie's vocals have lots of nice gentle tones, making for some sweet little numbers that sparkle nicely – titles that include "Baby Won't You Stay", "To Be Needed", "In A Little While", "At The Clinic", "What Could It Be", and "I Won't See Yesterday".

A masterpiece of funky soul – and one of the greatest albums of the early 70s! It all comes together on this one – funk, soul, politics, and production – and the record is still one of the clearest examples of James Brown's genius that you'll ever find! Recorded during the same sessions as the JBs album Damn Right I Am Somebody – Payback has the group backing James with amazing intensity, playing on and on for very long stretches, improvising jams that perfectly match the vocals, which are often as improvised as the music. The most famous example of this style at work is "The Payback", which begins with a simple head arrangement, then has James riffing off on politics and power, letting the band come in at just the right moment, dropping solos that are still some of the best ever recorded on a funk album. The rest of the album's equally great, and even though most tracks run close to 10 minutes, and the album's a 2LP set, most of the material stays fresher than any 3 minute funk record we've ever heard. Some tracks are separated by these cool voices that rise up as seques – and titles include "Stone To The Bone", "Mind Power", "Take Some Leave Some", and "Shoot Your Shot".

A masterpiece of funky soul – and one of the greatest albums of the early 70s! It all comes together on this one – funk, soul, politics, and production – and the record is still one of the clearest examples of James Brown's genius that you'll ever find! Recorded during the same sessions as the JBs album Damn Right I Am Somebody – Payback has the group backing James with amazing intensity, playing on and on for very long stretches, improvising jams that perfectly match the vocals, which are often as improvised as the music. The most famous example of this style at work is "The Payback", which begins with a simple head arrangement, then has James riffing off on politics and power, letting the band come in at just the right moment, dropping solos that are still some of the best ever recorded on a funk album. The rest of the album's equally great, and even though most tracks run close to 10 minutes, and the album's a 2LP set, most of the material stays fresher than any 3 minute funk record we've ever heard. Some tracks are separated by these cool voices that rise up as seques – and titles include "Stone To The Bone", "Mind Power", "Take Some Leave Some", and "Shoot Your Shot".

One of the most obscure of the Paul Chambers albums on Blue Note – and one of the most interesting as well! Although best known for his solid rhythm work on late 50s hardbop recordings, Chambers breaks out here with a more introspective, more exploratory style on the bass – using the instrument "on top", as a lead solo force in a group with Kenny Burrell on guitar, Hank Jones on piano, and Art Taylor on drums. The sound is surprisingly soulful, and modern yet swinging – in the manner of Oscar Pettiford's best sides of this style. Titles include "Yesterdays", "You'd Be So Nice To Come Home To", "Confessin", and "The Theme". CD also features the bonus track "Chamber Mates"

This is a repackaged version of an album that was originally issued under Cecil Taylor's name, under the title Hard Drive (and later Stereo Drive, or something like that). The record brings together two of the late 50's most promising modernists – Cecil Taylor and John Coltrane – in a group that includes Kenny Dorham, Chuck Israels, and Louis Hayes. The music is a startling mix of styles – as Taylor's heavy piano clashes noisily with Trane's free flowing lines on the tenor. It doesn't always work, but it's well worth a listen, and stands as a critical meeting of two important talents that were both best known on their own. Tracks include "Shifting Down", "Double Clutching", and "Just Friends".

A various artist compilation Prestige put together to capitalize on the popularity of the Oscar-winning Elizabeth Taylor film Cleopatra with music that features Eastern and Egyptian themes. In spite of how you may feel about the concept, the set features some tracks that have become harder to come by on vinyl, and plays nicely whether you're considering the theme. . .or not. 5 tracks in all: "La Ibkey" by Ahmed Abdul Malik, "Taboo" by Yusef Lateef, "Anadolu Oyuni" by Oudi Hrant, "Ackmet" by dizzy Reece, and "Bakai" by John Coltrane.

A wonderful album from this enigmatic soul group! Cornelius Brothers & Sister Rose were one of a handful of early 70s groups – like Chairmen Of The Board or 100 Proof Aged In Soul – who had a sound that was incredibly hard to peg. There were bits of southern rawness in the vocals, but the overall approach also had plenty of elements of smoother Northern Soul, and wasn't afraid to use strings or uptown arrangements when they were needed. This album's their best, and features 10 tracks written by Eddie Cornelius, plus a great little cover of Al Green's "Let's Stay Together". Tracks include the sublime easy soul number "Too Late To Turn Back Now", choppy odd groover "Treat Her Like A Lady", and the cuts "Gonna Be Sweet For You", "Let Me Down Easy", and "Lift Your Love Higher".

A late 70s gem from Tyrone's years on Columbia Records – one that shows both sides of his talents for the label! The set starts out with an extended clubby groover called "Get On Up (Disco)" – a bumping sort of number that's clearly trying to push him into Johnnie Taylor territory, and which comes off surprisingly well. But even better are the rest of the tracks on the set – which update Tyrone's older Brunswick sound with a smoother, more sophisticated sort of style – still recorded in Chicago, and with some southern soul traces – but usually done in a warmer midtempo groove, with excellent lead vocals and great backing from The Haywood Sisters. Titles include "It's You It's You", "Bunky", "All I Ever Need", "I Can't Go On This Way", and "Can't Help But Say".

A killer groove! "Fallin In Debt" is a chunky, funky monster that feels like some lost southern funk cut from the end of the 60s – razor sharp drums that move surprisingly fast, tight horns that pepper the groove but never overwhelm, and great vocals from DeRobert that set the pace of the cut nicely! Guitar riffs quickly alongside the triple-time groove – and the whole thing's backed by "Stay On Point" – another wickedly funky tune with an offbeat sense of rhythm!

The first full length in a few years from world class turntablist DJ Kentaro – and a pretty diverse set of floor-shaking instrumentals – plus a number vocal cuts with a strong roster of guests. Kentaro is a sharp producer/artist on top of the turntablist skills, crafting well-paced full scale listening experiences – and he's wise enough to stay true to his inspirations rather than chase trends. Includes "Kikkake" feat DJ Krugh, "Higher", "Step In" feat Foreign Beggers, "Big Timer" feat MC Zulu, "Lapis Lazuli", "Crossfader" feat Kid Koala & D-Styles, "Next Page (Dora) feat C2C and more.

The first full length in a few years from world class turntablist DJ Kentaro – and a pretty diverse set of floor-shaking instrumentals – plus a number vocal cuts with a strong roster of guests. Kentaro is a sharp producer/artist on top of the turntablist skills, crafting well-paced full scale listening experiences – and he's wise enough to stay true to his inspirations rather than chase trends. Includes "Kikkake" feat DJ Krugh, "Higher", "Step In" feat Foreign Beggers, "Big Timer" feat MC Zulu, "Lapis Lazuli", "Crossfader" feat Kid Koala & D-Styles, "Next Page (Dora) feat C2C and more.

Kenny may be quiet, but he's never muted – and the record is far from the sleepy session you might guess from the title! The album's a real standout in the Dorham catalog – a set that let's Kenny's trumpet sparkle beautifully in a quartet that includes piano from Tommy Flanagan, bass from Paul Chambers, and drums from Art Taylor – all bringing their own spirit to the record, but really hanging back in the space to let Dorham's sound dominate the record. Kenny's notes are beautifully shaped throughout – in a mode that has echoes of Clifford Brown's sweetness, but which also speaks with a raspier, earthier tone overall! Titles include 2 key Dorham classics – "Lotus Blossom" and "Blue Spring Shuffle" – plus "Mack The Knife", "My Ideal", "Blue Friday", and "Old Folks".

Rod Perry plays the lead in this mid 70s action flick – a hustler trying to stay clear of the drug trade on the mean streets – until he's been crossed by a mobster played by Don Chastain. Perry then teams up with ghetto boss Big Nate Williamson (played by Jimmy Witherspoon!) – all in an effort to drive out the mafia and their drug-dealing ways!

Plenty of crazy rhythms here – as singers Chiemi Eri and Carl Jones are joined by Japanese jazzmen who include Nobuo Hara & His Sharps & Flats, saxophonists Sadao Watanabe and Sleepy Matsumoto, guitarist Shungo Sawada, and the Hideo Shiraki Quintet! The backings on all tracks are superb – and elevate the already-great team of Eri and Jones to a wonderful new level – one that easily matches some of the hippest vocal jazz sessions cut in the US during the same period, especially some of the more inventive albums on the soul jazz side of the spectrum. Titles include "The Big Twister", "My Funny Valentine", "Just Squeeze Me", "Love Is Here To Stay", "I Get A Kick Out Of You", and "Midnight Sun Will Never Set".

A blistering little set from Funkadelic – one that features the return of Eddie Hazel's guitar, finely honed to the leaner, more soul-based sound of the group in the mid 70s! The title is prophetic, as the group are really "standing on the verge" here – working hard to tighten up their sound from the more rock-based years, and moving into a catchier funk groove that would put them over the top for many records to come! The title cut "Standing On The Verge" is one of the most anthemic funk tracks you'll ever find – with a chorus and groove that will stay in your head for years after you first hear the song – and there's lots of other tasty tracks like that on the set, really honing the Funkadelic approach down into an incredibly powerful sound! Titles include "I'll Stay", "Standing On The Verge", "Good Thoughts Bad Thoughts", "Red Hot Mama", "Jimmy's Got a Little Bit of Bitch In Him", and "Sexy Ways".

Two albums that really show why we love Benny Golson so much! Turning Point is an incredible, and oft-overlooked album from the great Benny Golson – and one of the few early albums that really point the way to his huge run of work for decades to come! The style here is a bit looser, and more open than some of Golson's previous albums – less of a focus on arrangements, and more on the spontaneous interplay between his tenor and the crack rhythm section – which features Wynton Kelly on piano, Paul Chambers on bass, and Jimmy Cobb on drums – a dream lineup who really make the record sparkle. But the real star of the show is Golson – who's hitting this raspy, soulful tone he never had before – much freer of soul jazz formalities, and with a modern edge that's wonderful – as you'll hear on titles that include "Alone Together", "Turning Point", "Stella By Starlight", and "Dear Kathy". On Free, things aren't as tightly structured as on some of Benny's more arranged albums of the period – and he opens up wonderfully in a small group setting – playing in a beautifully confident tone, but with a slightly raspy edge – cutting, changing, and swinging perfectly in lines that are masterfully crafted, yet full of raw emotion. The group's a thoughtful quartet, and includes Tommy Flanagan on piano, Ron Carter on bass, and Art Taylor on drums – and tracks that inlcude "Sock Cha", "Shades Of Stein", "Just By Myself", and "Just In Time".

Dexter Gordon certainly was a tower of power by this point – as his lengthy 60s stay in Europe helped him to work work work, and season his playing considerably – to a point at which he emerged as a masterful soloist far beyond the limits of his early bop recordings! This session features Dexter back with an American group – one that features Barry Harris on piano, Buster Williams on bass, and Tootie Heath on drums – plus a very welcome James Moody on tenor on one track, "Monmartre", blowing in that raspier tone of the late 60s we love so much! Other titles include "Stanley The Steamer", "The Rainbow People", "Those Were The Days", "Fried Bananas", "Boston Bernie", and "Sticky Wicket", "Lady Bird", and "Meditation"all nice and long!

A soaring set from guitarist Grant Green – a really amazing double-length set that caps off his legendary run for Blue Note – done with a vibe that's different than most of his other work for the label! Like some of the other Lighthouse sessions from Blue Note – particularly those from Lee Morgan and Elvin Jones – this one has a very open, free vibe – a way of stretching out on the tracks, yet still staying soulful – all an amazing document of the rich talents of the leader in a live setting! The group's a bit unique, too – and features Gary Coleman on vibes, Shelton Laster on organ, Claude Bartee on tenor and soprano sax, Wilton Felder on bass, and Greg Williams on drums – all players who hit this hip Cali groove with Green – and really take off on cuts that include versions of Donald Byrd's "Fancy Free", Neal Creque's "Windjammer", and The Fabulous Counts' "Jan Jan" – plus the cuts "Flood In Franklin Park", "Walk In The Night", and "Betcha By Golly Wow".

A soaring set from guitarist Grant Green – a really amazing double-length set that caps off his legendary run for Blue Note – done with a vibe that's different than most of his other work for the label! Like some of the other Lighthouse sessions from Blue Note – particularly those from Lee Morgan and Elvin Jones – this one has a very open, free vibe – a way of stretching out on the tracks, yet still staying soulful – all an amazing document of the rich talents of the leader in a live setting! The group's a bit unique, too – and features Gary Coleman on vibes, Shelton Laster on organ, Claude Bartee on tenor and soprano sax, Wilton Felder on bass, and Greg Williams on drums – all players who hit this hip Cali groove with Green – and really take off on cuts that include versions of Donald Byrd's "Fancy Free", Neal Creque's "Windjammer", and The Fabulous Counts' "Jan Jan" – plus the cuts "Flood In Franklin Park", "Walk In The Night", and "Betcha By Golly Wow".

A legendary album – and for good reason too – a set that's as mysterious as it is funky, and a record that's stayed at the top of our crates for years! The album features a really unusual collective of musicians, pulled together under the guidance of producer Paul Winley – a group that features George Benson on guitar, Dave Baby Cortez on organ, Willis Jackson on tenor sax, and Earl Williams on some massively funky drums! The music's a mix of funky jazz and gritty soul – put together with some really weird studio touches – including an uncredited male voice that comes in and out of the tracks, bad-rapping along with some very hip commentary. Ann Winley sings the female vocals on the set – often egged on by the dude – but the real charm of the record lies at the bottom – the wicked drums, funky basslines, and choppy instrumental bits that have gotten the set sampled plenty over the years. Titles include the classic "Smokin Cheeba Cheeba" alone, the groovy "Finger In It", a great breakbeat version of "Ain't No Sunshine" with a tenor solo by Willis Jackson, and the slow bluesy talking cut "Fed Up", a baaaad rap about a couple splitting up – done here in both vocal and instrumental versions.

An excellent record from Hiss Golden Messenger – who blend rootsy, but freewheeling instrumentation with artful, ambitious songwriting – and they're one of the most creative groups around making brilliantly original music that still hold true to southern folk and roots history The anchors are singer/guitarist/mandolin player MC Taylor and guitar and bass player Scott Hirsch – but the music is fleshed out by a large group of great musicians on a diverse list of instruments – piano, Rhodes and Hammond on the keyboards spectrum, banjo, fiddle, pedal steel and and array of acoustic and electric strings, sax and more. In a way, it's the mix of traditional reverence and straight up newness is reminiscent of The Band in the late 60s and early 70s – but they ultimately have a vibe all their own. Includes "Red Rose Nantahala", "Sufferer (Love My Conqueror)", "I've Got A Name For The Newborn Child", "Devotion", "Hat Of Rain", "The Serpent Is Kind (Compared To Man)", "Cheerwine Easter", "Busted Note", "What Shall Be (Shall Be Enough)".

An amazing record – quite possibly the best ever by Chicago soul legend Leroy Hutson! The whole thing's a smooth soul masterpiece beyond compare – a stunning blend of great songwriting, sexy vocals, and buttery production that rank it up there with the best work of 70s giants like Marvin Gaye, Leon Ware, or Roy Ayers. Leroy's got a voice that's both warm and mellow, yet incredibly honest at the same time – and the songs on the record show a range of colors and emotions that perfectly fit his unique style. Features mellow "Cool Out", the funky "Lucky Fellow", the sweet "All Because Of You", and the sublime cuts "It's Different" and "Can't Stay Away". The whole thing's great – and is one of the crowning achievements of the Chicago soul scene!

An amazing, career-spanning compilation of pioneering psych and earlier material, mixed with more traditional elements of Korean music by Shin Joong Hyun – including his own numbers, great songs with his combos over the years and tunes he wrote for others to sing – from the late 50s to the early 70s! The stylistic breadth is pretty wide, but what's so impressive is that he's not merely traipsing through genres to stay current – he's a real master, and the consistently great quality throughout is a real thing to behold. It's passionate and soulful as all get out, whether it's a spare bit of rock or folk, raw and rumbling psych folk or garage-y stormers. One of the best global psych comps we've seen in a while! Includes "Moon Watching", "J Blues '72" and "I've Got Nothing To Say" (credited to Shin Joong Hyun), "Please Don't Bother Me Anymore" by Golden Grapes, "The Sun" by Kim Jung Mi, "Tomorrow" by lee Jung Hwa, "Spring Rain" by Park In Soo, "Sunset" by Jang Hyun, "Why That Person" by Bunny Girls, "Beautiful Rivers And Mountains" by Shin Joong Hyun & The Men and more.

Rare work from Weldon Irvine – a selection of tracks recorded as private studio outings, reissued briefly by Luv N Haight in the early 90s, and then only on vinyl! The style here is much more jazz-based than some of Irvine's soul recordings – a mode that's often all instrumental, and which features Weldon playing more acoustic piano than on his 70s fusion classics – but usually mixed in with sweet electric elements, too – which creates this wonderfully righteous balance in the music! The whole thing's very soulful, with plenty of undercurrents of the RCA years – and guest players include Steve Grossman on tenor, Marcus Miller on bass, Tom Browne on trumpet, and Bobby Broom on guitar – the latter 3 of which all worked with Weldon at GRP, making us guess that some of these 80s sides were intended for release on that label. Titles include "Kundabuffer", "Music Is The Key", "Mr PC", "We Can Try Again", and "Blues For Spike". CD features a huge amount of bonus tracks – including "Blue In Green", "Heard It All Before", "It's Funky", "Shopping", "The Sisters", "Think I'll Stay A While", and "Misty Dawn" – all only ever on the Sisters album, making their first appearance here on vinyl.

What the what?!? Soul sides so great they'll blow your mind – even though none of them have ever been issued before! George Jackson is one of the great lost talents of southern soul – an artist who often stayed in the background, lending his talents to others in the studio, or as a writer – but a hell of a strong artist on his own – as you'll hear in this package of 24 recordings done at the legendary Fame Studios! Jackson's vocals are great – nice and gritty, plain and honest, and with just the right sort of focus to perfectly serve up the poetry of his lyrics. And the backings are wonderful, too – that simple, soulful groove that Fame did so well – often slow-burning on the rhythm tip, with production that lets George shine right out front in the mix. Why these cuts were never issued at the time is a mystery to us – as they could have made George and a few other folks a nice little fortune and a good deal of fame. But as with most discoveries like this, the obscurity of the tracks also makes for a freshness that we love too – as if we've taken a time machine back to a period we love, and found a way to hear the "real deal" right up close! Titles include "Greedy Over You", "I Want You So Bad", "Stuck On Her", "Statue Of Soul", "Talking In Your Sleep", "Back In Your Arms", "You're Gonna Need Me Again", "I Can't Love Without You", "Evidence", "Bite The Hand That Feeds You", "Let's Stop Hurting Each Other", and "Getting The Bills But No Merchandise".

What the what?!? Soul sides so great they'll blow your mind – even though none of them have ever been issued before! George Jackson is one of the great lost talents of southern soul – an artist who often stayed in the background, lending his talents to others in the studio, or as a writer – but a hell of a strong artist on his own – as you'll hear in this package of 24 recordings done at the legendary Fame Studios! Jackson's vocals are great – nice and gritty, plain and honest, and with just the right sort of focus to perfectly serve up the poetry of his lyrics. And the backings are wonderful, too – that simple, soulful groove that Fame did so well – often slow-burning on the rhythm tip, with production that lets George shine right out front in the mix. Why these cuts were never issued at the time is a mystery to us – as they could have made George and a few other folks a nice little fortune and a good deal of fame. But as with most discoveries like this, the obscurity of the tracks also makes for a freshness that we love too – as if we've taken a time machine back to a period we love, and found a way to hear the "real deal" right up close! Special LP version – featuring a dozen tracks from the Fame CDs – including "Greedy Over You", "Double Lovin", "Don't Count Me Out", "Save Me", "That From The Heart", "Add A Little Sunshine", "Let The Best Man Win", "I Bit Off More Than I Can Chew", and "Bite The Hand That Feeds You".

The second album from Chicago's great raw soul torch carriers JC Brooks & The Uptown Sound – their debut for Bloodshot, and a record that's gonna catapult them to the forefront of the live soul scene, in the Chi and everywhere else! The group's proved over the past couple years, via their raw, yet propellant debut album, some great singles, and furious live show schedule, that they're poised to deliver in a bigger way. On Want More they do that and, uh. . .a bit more! JC's a rare singer who can both shout out in a gritty funk mode and coo with charisma on slower soul anthems, and the group delivers on both fronts, too. Producer Jimmy Sutton captures them perfectly. The core group features Billy Bungeroth on guitar, Kevin Marks on drums & percussion and Ben Taylor on bass. Includes "Want More", "Everything Will Be Fine", "I Got High", their great cover of "I Am Trying To Break Your Heart", "Baaadnews", "I Can See Everything", "Sister Ray Charles", "Awake" and more.

A mostly instrumental Exhibit from the mighty K Def – and a top shelf slice of timelessly inventive, head nodding hip hop production! Great stuff with prominent beats that pull you right in, but there's a lot more going on in the mix – sinister bass lines, moody keys, bits of guitar and more. It kicks off a pair of strong tracks with guest MCs – "Exhibit 2A" featuring Seven Shawn of World Renown and "The Fundamentals" with Blu & Quartermaine – and the instrumentals include "Improvs From The Brain", "Mind Boggled", "Get Your Mustard", "Relay The Piece", "Lost My Thought Part 1", "Stay Thinking About Music", "Chord Tester", "Rock It", "Lost My Thought Part 2" and more. 17 tracks in all.

Damn great work from guitarist Volker Kriegel – a player who rose to prominence in the Dave Pike Set, then went onto make some wonderful records of his own! Volker plays both acoustic and electric guitar on the set, and works with a very hip fusion combo that features electric piano from John Taylor, soprano sax and flute from Stan Sulzman, bass and cello from Eberhard Weber, and electric violin from Zbigniew Siefert – all players who gell together perfectly, with this sublime MPS blend that's never too jamming or too rocking – a perfect balance that you'd hardly get from US fusion groups of the time! Tunes are a nice mix of funky and fuzzy numbers, with a dose of easternisms to round things out – and titles include "Lift!", "Forty Colors", "Electric Blue", "Lame Donkey", and "Blue Titmouse".

The funky fusion classic from guitarist Volker Krieger – finally issued in a great CD edition! Easily one of Krieger's best albums, Spectrum was remarkably cut in just two days at MPS Studios in 1971 – with a group that includes Peter Baumeister on drums, Cees See on bongos and percussion, Peter Trunk on bass and cello, and John Taylor on Hohner electric piano. It kicks of with the amazing track "Zoom", a seriously funky maelstrom of groovy funky guitar and percussion that mixes in washes of sitar and Eastern effects here and there for a really trippy effect! The album doesn't try to duplicate the frenzy whipped up by the opener right away, and finds a much more relaxed groove in tracks like "So Long, For Now", "More About D", "Ach Kina", and "Instant Judgement" before flailing away in the exciting closer "Strings Revisited". One of the great ones from MPS – and a hugely influential one to the progression of 70s jazz funk. A really groovy record!

A classic deep soul set from Eloise Laws – an early album recorded for Invictus Records, and done with stellar production from Brian Holland! The title cut's a monster, one of the best tracks on the label from the 70s – with some wonderfully spacey keyboards, funky drums and bass grooving! But there's loads of other strong cuts too – all with that great Invictus blend of masterfully produced, tight dancefloor soul – yet also served up with more than enough grit in the grooves to make the album a great one for funk fans too! Tracks include "Ain't It Good Feeling Good", "Where Did We Go Wrong", "I Believe In You Baby", "Love Goes Deeper Than That", "Put A Little Love Into It", "Camouflage", and "Make It Last Forever". CD features lots of bonus tracks – including "Love Factory", "You Made Me An Offer I Can't Refuse", "Tighten Him Up", "Touch Me", "Stay With Me", "Love Goes Deeper Than That (12" version)", and "Put A Little Love Into It (12" version)".

A jazzy soul masterpiece from Webster Lewis – light years away from the rougher funk he cut at the start of the 70s! The album's beautifully put together – almost perfect at all points, at a level that we'd rank right up there with the best work by Leroy Hutson, Roy Ayers, or other contemporary maestros in the studio. Unlike some of the more commercial artists of his generation – who also came to soul through jazz – Webster doesn't push the hooks too hard, nor try too much for a hit. And instead, he's more than happy to stay in his own righteous space – with a sound that's smooth, but never slick – tight, but not uptight. He's got some great help on the record – including keyboards from Herbie Hancock and Skip Scarborough, guitar from David T Walker, and percussion from Willie Bobo – all of whom keep things cool. Vocals are handled by a number of singers, including Webster himself – and titles include "Bout The Love", "Let Me Be The One", "Love Won't Harm No One", "El Bobo", "Kemo Kemo", "A Quiet Thing", and "Flying High". CD features 2 bonus tracks – "Reach Out" and "Boston".

One of our favorite albums ever – and every track is a masterpiece! The album was originally cut for the tiny Chiaroscuro label in 1977 – and it's got a sound that's unlike anything else we can think of – soaring, soulful, jazzy, and righteous – wrapped up in a blend that's never been done this perfectly again! James Mason's a player who's know for a bit of keyboard work with other artists – but here, he's really working as a collective power – bringing together a brilliant ensemble that work as one to hit some sublime sounds – much in the way that Roy Ayers could work some key magic with his groups at the same time, but with a vibe that's very different too. Players include Ayers associates Justo Almario on saxes and Philip Woo on piano – and a young Narada Michael Walden adds some excellent drums to the record – a lot more powerful and funky than on most of his own albums! Lead vocals are by Clarice Taylor – who's got this unique voice that really makes the record – proud, but sensitive at the same time too – and Mason plays lots of Fender Rhodes, polymoog, Arp, and a bit of guitar. Titles include the breakbeat classic "Funny Girl", the monster groover "Sweet Power Your Embrace", the funky "Slick City", and the massive "Free" – but every cut's a winner, and others include "Mbewe", "Rhythm Of Life", and "Dreams". This is the kind of album that makes us proud to be in business!

One of our favorite albums ever – and every track is a masterpiece! The album was originally cut for the tiny Chiaroscuro label in 1977 – and it's got a sound that's unlike anything else we can think of – soaring, soulful, jazzy, and righteous – wrapped up in a blend that's never been done this perfectly again! James Mason's a player who's know for a bit of keyboard work with other artists – but here, he's really working as a collective power – bringing together a brilliant ensemble that work as one to hit some sublime sounds – much in the way that Roy Ayers could work some key magic with his groups at the same time, but with a vibe that's very different too. Players include Ayers associates Justo Almario on saxes and Philip Woo on piano – and a young Narada Michael Walden adds some excellent drums to the record – a lot more powerful and funky than on most of his own albums! Lead vocals are by Clarice Taylor – who's got this unique voice that really makes the record – proud, but sensitive at the same time too – and Mason plays lots of Fender Rhodes, polymoog, Arp, and a bit of guitar. Titles include the breakbeat classic "Funny Girl", the monster groover "Sweet Power Your Embrace", the funky "Slick City", and the massive "Free" – but every cut's a winner, and others include "Mbewe", "Rhythm Of Life", and "Dreams". This is the kind of album that makes us proud to be in business! CD features great bonus tracks too – an unreleased 1977 mix of "Sweet Power Your Embrace", the single mix of that track too – and the later grooves "I Want Your Love" and "Nightgruv".

Genius work from trumpeter Blue Mitchell – one of his most solid sides as a leader from the 60s, and a well-deserved treasure in the Blue Note catalog! The album's quite different than the straight soul jazz of Blue's early days on Riverside – or the more arranged dates of the late 60s – and it features him moving in a soulful, lyrical, modal style – quite similar to Horace Silver in conception, but with a fresh execution that's mighty nice – and which marks Mitchell as one of the fresher trumpet voices of his generation! The whole group's great, too – and the lineup includes Junior Cook on tenor, Blue's old bandmate from Horace Silver's group – plus Harold Mabern on piano, who really helps shape the sound of the record, Gene Taylor on bass and Billy Higgins on drums. Tracks include gems from Mitchell, Jimmy Heath, and Tom McIntosh – titles that include "Bring It Home To Me", "Blues 3 For 1", "Port Rico Rock", and "Ginger Bread Boy".

The thing to do – is jam! Blue's sounding wonderful in this classic set for Blue Note – one of his best small group albums – recorded with a sound that's solidly in keeping with his lyrically melodic work in the Horace Silver group! The quintet features Chick Corea on piano – sounding incredibly subtle, and making us wish he'd recorded more sides like this – plus Junior Cook on tenor, nicely matching Blue as he did on so many albums from the time – and bass by Gene Taylor and drums by Al Foster. Titles include the hit soul jazzer "Fungii Mama", plus more introspective numbers like "Mona's Mood", "Chick's Tune", "Step Lightly", and "The Thing To Do".

The thing to do – is jam! Blue's sounding wonderful in this classic set for Blue Note – one of his best small group albums – recorded with a sound that's solidly in keeping with his lyrically melodic work in the Horace Silver group! The quintet features Chick Corea on piano – sounding incredibly subtle, and making us wish he'd recorded more sides like this – plus Junior Cook on tenor, nicely matching Blue as he did on so many albums from the time – and bass by Gene Taylor and drums by Al Foster. Titles include the hit soul jazzer "Fungii Mama", plus more introspective numbers like "Mona's Mood", "Chick's Tune", "Step Lightly", and "The Thing To Do".

The thing to do – is jam! Blue's sounding wonderful in this classic set for Blue Note – one of his best small group albums – recorded with a sound that's solidly in keeping with his lyrically melodic work in the Horace Silver group! The quintet features Chick Corea on piano – sounding incredibly subtle, and making us wish he'd recorded more sides like this – plus Junior Cook on tenor, nicely matching Blue as he did on so many albums from the time – and bass by Gene Taylor and drums by Al Foster. Titles include the hit soul jazzer "Fungii Mama", plus more introspective numbers like "Mona's Mood", "Chick's Tune", "Step Lightly", and "The Thing To Do".

One of the first bold statements to come from Chicago's AACM underground of the 60s – a tremendous debut effort from the young Roscoe Mitchell! The album's got a "sense of the new" feel that's as gripping as anything recorded by ESP or Impulse around the same time – a rule-breaking, freely-creative approach to jazz that builds strongly off the changes already wrought by Cecil Taylor, Ornette Coleman, and Archie Shepp! The format is somewhat like the Art Ensemble Of Chicago at times – with measured horn work from Mitchell on alto, clarinet, and recorder, Maurice McIntyre on tenor, Lester Bowie on trumpet and flugelhorn, and Lester Lashley on trombone (as well as a bit of cello). Some tracks – like the brilliant "Sound" – offer a slow-building exploration of tones and textures – while others, like the blues-joke "Little Suite", or the harmelodic "Ornette", show a wry sense of humor that would become a Chicago avant hallmark as the years went on! CD also features bonus alternate takes of "Sound" and "Ornette".

One of those bright, charismatic Billy Ocean records from a couple years before his massive pop soul crossover – just a sublime 80s club groover that pumps along at a nice mid tempo clip – a real favorite around these parts! This was Billy's debut for Epic and there's plenty of signposts here of his potential to bust out in a big way commercially – it's hooky and insistent, but still plenty soulful, less steeped in pop gloss and with fewer ballads – lean, danceable soul that holds up very, very well. Also includes "Stay The Night", "Whatever Turns You On", "Don't Say Stop", "Another Day Won't Matter", and "Taking Chances". This Big Break UK remastered edition has 4 bonus tracks: 12 inch versions of "Are You Ready" and "Stay The Night" and single versions of the title track and "Another Day Won't Matter".

Ahhhhh . . . By this point, George Clinton and the P-Funk team were on top of the world! The record is a masterful dose of slick mothership jamming – perfectly woven together with that tightly compressed style that really served Clinton's production work well. The tracks are long, but never too loopy – and thanks to help from the Bernie Worrell, Jerome Brailey, Gary Shider, and the Horny Horns, the album stays very tight instrumentally all the way through! Loads of Parliament classics, including "Bop Gun", "Funkentelechy", "Sir Nose D'Voidoffunk", and the massive "Flash Light", which we've heard a million times, but which never ceases to amaze us!

Beautifully sweet soul by Billy – perhaps a bit more pop soul than some of his other albums, but no less great! Gamble & Huff were firmly in the control room on this one – and the results show on excellent cuts like the huge hit "Me & Mrs. Jones", the funky groover "Am I Black Enough For You" (sampled by Schoolly D), and the tracks "I'm Just A Prisoner", "Brown Baby", and "Let's Stay Together". A masterpiece of sophisticated soul that not only had Billy crossing over big, but which opened whole new doors in the market for black male singers!

All the great ones – "Stay Awhile", "You Don't Have To Say You Love Me", "Wishin & Hopin", "All Cried Out", "I Only Want To Be With You", and "In The Middle Of Nowhere".

A massive double header – two great albums back to back! Rated Extraordinaire is our favorite album ever from Johnnie Taylor – an incredible set from the late 70s that really has Taylor reinventing his sound – and coming across as a great talent for a mellow groove! The album has a wonderful smooth soul vibe all the way through – and starts with the classic "Your Love Is Rated X", a sweet little stepper with a hook that's totally great, and a groove that goes on and on and on – one of those cuts we can hear for years, and it still never gets old! Don Davis produced the whole thing – in a way that balances the raspy roots of Taylor's vocals with the tighter changes going on in late 70s soul – a balance that he was always good at, but possibly never served up this well again. In addition to "Your Love Is Rated X", other titles include "And I Panicked", "Did He Make Love To You", "Love Is Better In The AM", "It Ain't What You Do", "Here I Go", and "Stop Giving People Hard Luck Stories". Ever Ready is a sweet set from Johnnie Taylor's late 70s run on Columbia Records – and a set with a definite groove for the dancefloors! The album' was recorded in Detroit, and features some sparkling production from Don Davis – very much in that Detroit-into-disco mode that Davis was pushing strongly at the time – in a way that was smooth overall, but still let the singers keep all the edge and personality in their vocals! Arrangements are by Rudy Robinson, in collaboration with a number of others – and titles include "Hey Mister Melody Maker", "Ever Ready", "Keep On Dancing", "Give Me My Baby", "Soul Fillet", "I Love To Make Love When It's Raining", and "Bittersweet Love".

Groovy psychedelic rock from Brazil – the self-titled effort from Ronnie Von – a Brazilian television personality and musician who stayed incredibly busy from late 60s through the 70s – but recorded few albums as sublime as this album from 1968! It's really a near-perfect batch of sunshine rock – sung in Portuguese and featuring some of the similar freeform sounds of his Brazilian contemporaries of the time – with groovy western touches in the instrumentation. Ronnie's vocals are backed up by organ washes and piano, buzzing guitars and walloping drums – but the overall feel is quite melodic. A wonderful blend of California sunshine and Brazilian rock grooves! Tracks include "Meu Novo Cantar", "Chega De Tudo", "Espelhos Quebrados", Anarquia", "Esperahca De Cantar", "Contudo, Todavia", "Anarquia", "Mil Novecentos E Alem", "Canto De Despedida" and more – plus 6 bonus tracks!

Spacey, club ready remixes of ascending hip hop-gospel-soul spirits Washington Projects – plus the full Light Up The Dark album as a bonus disc! Washington Projects blend modern hip hop and R&B singing and rhymes beautifully well, with inspirational songs that are, well, genuinely inspirational. Space Time Continuum is filled heavily thumping, pulsing, floor-shaking remixes from the duos previous couple of albums. Titles include "Work (Intergalactic Public Transit Mix)", "Time (Spiral Galaxy Mix)", "My Dream (Wicker Park Mix", "Zephyr Wings (Chicago Discothaque Mix)", "Yesterday (Northern Lights Mix)" and more. Includes the Light Up The Dark album as a bonus disc, with "Light Up The Dark", "You Are Beautiful", "My Dream", "Stay", "Go", "Justus", "Momma", "Heaven Here I Come" and more.

Very nice spacey soul from the late 70s Columbus, Ohio scene by Norman Whiteside's Wee – a mindblowing mix of jazz funk sophistication, harmony vocals and electric keyboard led psychedelic soul! Whiteside started Wee after the dissolution of Capsoul Records, where he was an important figure to say the least – and here he's working with a great group of Columbus players harmony vocals in the frontline, backed by some great jazzy arrangements, with slight touches of a Mizell groove. Many of the tracks have a mellow midtempo feel, and some really innovative use of electric keyboards and flanged production on the vocals. A fantastic rediscovery from the fertile 70s Ohio scene! This stellar Asterisk reissue of the 9 track original Owl LP extends the tracklist to 20 songs – including a bunch of previously unreleased tracks – with "I'm All Changed", "Alone", "Put It In Real Good", "Leavin You Alone", "Try Me" (album and 45 versions), and "Find Me, Love Me", "Stay", "Trying To Tell You How I Feel", "I Luv You", "Do You Know", "I Think I Am In Love With You" and more. Vinyl version features 1 bonus track – and a really amazing package with a cool insert too!

A killer couple of Danish freakout records from Young Flowers – '68's Blomsterpistolen and No. 2 from '69 – a pair of outstanding albums for Sonet and a slew of bonus tracks in a 2CD set! Blomsterpistolen kicks off with a couple minutes-long "Overture" of guitar noise that mimics radio static as much as it does bugged-out rock & roll, but the punchier psych-styled grooves kick in soon after. From there it moves into to spookier, piano-led bits, to a psych funk version of Dylan's "Down Along The Cove" and beyond! Other titles include "The Moment Life Appeared", "To You", "April '68" and more. Bonus tracks on disc one include "Like Birds", "City of Friends", "Party Beat" and more. Disc two features the group's appropriate-titled No. 2, another tripped out experience with a loose, lumbering bluesy psych style with raw edge and some eerie acoustic numbers. Includes "You Upset Me Baby", "And Who I Should Be 4", the kinda Kinks-y "Calypso 4", "Slow Down Driver", "Kragerne Vender" and more, plus bonus tracks "Hey Princess", "Tonight I'll Be Staying Here With You" (another killer Dylan cover) and "Won't You Sit Down".

A killer CD – filled with funky tracks all picked by Cinedelic Records, with an ear towards the kinds of drums, basslines, and keyboards that have helped these older Italian soundtrack gems stay alive with a younger funky generation! The disc was formerly part of a more expensive special box, but is now presented here in a more reasonable version with just a focus on the music. CD features a whopping 22 tracks in all – with titles that include "Il Grande Racket" by Guido & Maurizio De Angelis, "Montreal Non Stop" by Luis Bacalov, "Tira A Rezza Oj Piscatore" by Raoul, "Folk & Violence" by Franco Micalizzi, "Sangue Di Sbirro" by Alessandro Alessandroni, "L'Intoccabile Mr Cliff" by Riz Ortolani, "La Polizia Chiede Aiuto" by Stelvio Cipriani, "Preludio" by Osanna, "Gangster Story" by Guido & Maurizio De Angelis, "Inseguimento E Fuga (2)" by Ennio Morricone, and "Kidnap" by Piero Piccioni.

A killer little set that's as heavy as it sounds from the title – a wealth of rare material pulled from the studio of Detroit producer Dave Hamilton – a good deal of it previously unreleased! Hearing this set is like finding a pile of rare 45s stuffed in the back corner of a long-lost record shop – because although much of the work was never issued, it crackles with the intensity of the best funky 45s – lots of funky drums, offbeat guitar, and raspy soul vocals – produced with a real edge to all the work, so that all of the hardest elements of the tunes really come through in the mix! The work that was issued here came out on the TCB, Tayster, and New Day labels – and although the artists are often not well known, the work's got a really unified feel – thanks to the funky vision of Dave Hamilton. CD features 20 tracks in all – including "Brand New Girl (part 1)", "You're Wasting My Time (parts 1 & 2)", and "I Got Some (parts 1 & 2)" by Billy Garner; "The Grown Folks Thing" by OC Tolbert, "Party Time" by James Carpenter, "Going To The Moon" by Dave Hamilton, "Funky Trip" by Johnny Walker, "The Devil Is Gonna Get You" by The Future Kind, "Just A Mistake" by The Barrino Brothers, "Hunchin" by Gip Roberts, "Bump With Me" by The Webb People, "Sweet Thing (part 1)" by Bobby Dee, and "Can You Dig It" by Chico & Buddy.

A treasure trove of funk and soul from one heck of a great little label – Columbus, Ohio's short-lived Capsoul imprint – only around for 5 years in the 70s, but home to a great flurry of indie singles! We first caught onto the label's brilliance with their funky classics "Hot Grits" by Elijah & The Ebonies and "Sock It To Em Soul Brother" by Bill Moss – but as this set wonderfully demonstrates, the label's got a heck of a lot more to offer – and all of it great! The label's brilliance has been masterfully unearthed by the crate-digging team at Numero Records – who've brought together 19 of the best Capsoul singles in a beautiful package that really tells the story of the tiny imprint, getting at the details and struggles that faced independent soul in the marketplace of the 70s. Way more than just a set of old singles, the set's a rich document of indie soul in one of the near-forgotten corners of the Midwest – filled with great tunes that may well have you booking the next flight you can find to Columbus! Titles include "Sock It To Em Soul Brother" by Bill Moss, "Pure Soul" by Elijah & The Ebonies, "Without Love" by Ronnie Taylor, "You're All I Need To Make It" by Johnson, Hawkins, Tatum, & Durr, "Hot Grits" by Elijah & The Ebonies, "Too Far Gone" by Four Mints, "I Want To Be Ready" by Kook Blues, "Go On Fool" by Marion Black, and "Number One" by Bill Moss. Updated version features new mastering and additional notes – plus the bonus track "All I Need To Make It" by The Capsoul Group.

A treasure trove of funk and soul from one heck of a great little label – Columbus, Ohio's short-lived Capsoul imprint – only around for 5 years in the 70s, but home to a great flurry of indie singles! We first caught onto the label's brilliance with their funky classics "Hot Grits" by Elijah & The Ebonies and "Sock It To Em Soul Brother" by Bill Moss – but as this set wonderfully demonstrates, the label's got a heck of a lot more to offer – and all of it great! The label's brilliance has been masterfully unearthed by the crate-digging team at Numero Records – who've brought together 20 of the best Capsoul singles in a beautiful package that really tells the story of the tiny imprint, getting at the details and struggles that faced independent soul in the marketplace of the 70s. Way more than just a set of old singles, the set's a rich document of indie soul in one of the near-forgotten corners of the Midwest – filled with great tunes that may well have you booking the next flight you can find to Columbus! Titles include "Sock It To Em Soul Brother" by Bill Moss, "Pure Soul" by Elijah & The Ebonies, "Without Love" by Ronnie Taylor, "You're All I Need To Make It" by Johnson, Hawkins, Tatum, & Durr, "Hot Grits" by Elijah & The Ebonies, "Too Far Gone" by Four Mints, "I Want To Be Ready" by Kook Blues, "Go On Fool" by Marion Black, and "Number One" by Bill Moss. Updated version features new mastering and additional notes – plus the bonus track "All I Need To Make It" by The Capsoul Group.

The birth of Miami soul, and a beautifully done document of the rare Deep City label – home to Willie Clarke, Clarence Reid, and Betty Wright in the years before Alston and TK Records! Way before Miami soul started cracking the charts at the start of the 70s, Deep City was already putting the best parts in place – working with a tight roster of artists and an equally tight in-house band that rose from the ranks of Florida A&M's Marching 100 band – razor-sharp instrumentalists who helped forge a groove worthy to rival the sounds of Memphis, Muscle Shoals, and even the best of Detroit at the time – given that some of the work here has a much sweeter soul sound than other 60s southern soul. As usual, the Numero team have done an incredible job with the package – pulling out rare photos, personal stories, and just the right amount of information to breathe new life into the Deep City label and help it live anew. Titles include "Paralyzed" and "Good Lovin" by Betty Wright, "Am I A Good Man" by Them Two, "Someone To Fulfill My Needs" and "I Love You Baby" by The Moovers, "I Am Controlled By Your Love" and "Willing & Able" by Helene Smith, "Good Thing (part 1)" by Frank Williams & The Rocketeers, "It's My Baby" and "The Upset" by Paul Kelly, and "Stay Away From My Johnny" by Freda Gray & The Rocketeers. 2LP version features 6 bonus tracks – all instrumental – including "Good Lovin (inst)", "I Love You Baby (inst)", "Darling I'll Go (inst)", and "Am I A Good Man (inst)" by The Deep City Band – and "Stay Away From My Johnny (inst)" and "Good Thing (part 2) (inst)" by The Rocketeers.

The best look at Chicago's legendary Twinight label that we've ever seen – a massive 2CD set that goes way past the obvious hits, and really digs into the heart and soul of this unique little record company! Twinight is best known as the home of Syl Johnson during his legendary run of funky soul singles at the end of the 60s – but the company was also home to a lot of other great talent during the same stretch – harmony vocal groups, sweet soul singers, funky combos, and more – all of which you'll hear in this incredible little set! (And in fact, the set does such a great job of presenting the other artists on Twinight, that it leaves out Syl Johnson entirely – so the package is a 100% non-Syl set – which is ok with us, because you can always get Johnson's work on other reissues.) The Numero Group have really outdone themselves this time around – using their careful ear to pull out the best lost bits from Twinight, remastered here with wonderful sound – and a brilliant 32 page booklet that tells the story of the label, and also includes loads of vintage photos. The set's a must-have for any fan of quality funk or soul – and the package includes a whopping 40 titles that include "Goin Man Huntin" by Jo Ann Garrett, "I've Made Up My Mind" by Josephine Taylor, "A New Day" by The Notations, "Nevermore" by Renaldo Domino, "Yesterday's Mistakes" by Jimmy Jones, "I'll Always Love You" by Velma Perkins, "Life Walked Out" by Mist, "Put Out The Fire by Mystiques, "You & Me Baby" by Kaldirons, "Rosemarie" by Dynamic Tints, "Remind Me" by Schiller Street Gang, "Is It Meant To Be" by Krystal Generation, "Pardon My Innocent Heart" by Nate Evans, "Package Of Love (part 1)" by Dynamic Tints, "The Devastator" by Stormy, "Mama" by Annette Poindexter, "Pass It On (part 1)" by Pipes Of Peace, "My Sunshine Girl" by Radiants, "Let Me Come Within" by Renaldo Domino, "Soul Strokes" by Sidney Pinchback, and "Can You Find Me Love" by Harrison & The Majestic Kind.

Funky female soul galore – a killer set of rare tunes that's one of the best sets of this type we've ever stocked! The SuperFunk crew at BGP have gone through the rich array of labels handled by the company – pulling out some massive tunes that really push our understanding of female soul – taking things way past the obvious hits and girl group numbers, into hard and heavy-stepping territory that we really love! Most of the tunes on the set are completely new to our ears, and there's a great mix of northern and southern funk styles that keeps things super-fresh. Drums crackle, basslines pound, and the gals belt it out loud, clear, and funky on a set of 20 tracks that includes "Tell Me What's Wrong" by Lynn Varnado, "Listen Here" by Valorie Keys, "Know What To Do When You Get It" by The Genies, "Heavy Heavy Hangs My Heart" by Vera Hamilton, "Better Get A Move On" by Louise McCord, "Pounds Of Soul" by Betty Bibbs, "Ooh Wee Baby" by Delilah Moore, "Sunshine Of Your Love" by Spanky Wilson, "Staying At Home Like A Woman" by Lynn Varnado, "Hold On This Time" by Fontella Bass, "Mr Fix It" by Thelma Jones, "I'm Glad I Got Over You" by Jeanette Jones, "One Way Street" by Little Ann, and "It's Too Late For Tears" by Rene Bailey.

Funky female soul galore – a killer set of rare tunes that's one of the best sets of this type we've ever stocked! The SuperFunk crew at BGP have gone through the rich array of labels handled by the company – pulling out some massive tunes that really push our understanding of female soul – taking things way past the obvious hits and girl group numbers, into hard and heavy-stepping territory that we really love! Most of the tunes on the set are completely new to our ears, and there's a great mix of northern and southern funk styles that keeps things super-fresh. Drums crackle, basslines pound, and the gals belt it out loud, clear, and funky on a set of 20 tracks that includes "Tell Me What's Wrong" by Lynn Varnado, "Listen Here" by Valorie Keys, "Know What To Do When You Get It" by The Genies, "Heavy Heavy Hangs My Heart" by Vera Hamilton, "Better Get A Move On" by Louise McCord, "Pounds Of Soul" by Betty Bibbs, "Ooh Wee Baby" by Delilah Moore, "Sunshine Of Your Love" by Spanky Wilson, "Staying At Home Like A Woman" by Lynn Varnado, "Hold On This Time" by Fontella Bass, "Mr Fix It" by Thelma Jones, "I'm Glad I Got Over You" by Jeanette Jones, "One Way Street" by Little Ann, and "It's Too Late For Tears" by Rene Bailey.

The start of a legendary label – laid out here in chronological order! The Modern label was a key force in R&B, blues, and jazz in the postwar years – an important indie with an ear for the best underground styles, and an uncanny talent for not only picking some of the best artists of the time – but also finding a way to let their best music come through on record! This wonderful collection brings together all the early Modern Records 78rpm recordings from 1945 – all with brilliant remastering, and the usual Ace Records high level of notes that offers up way more information than you'd find on the original copies. There's strongly jazzy vibe running through the mix here – and titles include "Swinging The Boogie", "Rocking The Boogie", "The Man I Love", "Rehearsin The Boogie", and "Blue Mood" by Hadda Brooks; "Deep Meditation" and "11:45 Swing" by Howard McGhee, "Lovin Lover" and "Jesse Boogie" by Jesse Perry, "Daddy Somebody's Got To Go" by Pearl Taylor, "Air Mail Special" and "B Splat" by Happy Johnson Sextette, and "That's The Boogie" by Three Bits Of Rhythm.

Not really blues, but not really soul either – a wonderful mix of modes that's come to be known as the popcorn sound of the early 60s! The style's hardly "pop" at all – and instead, these tunes are plenty gritty throughout – more like numbers you'd hear blasting out of a backroom jukebox, or on the decks of some deep soul DJ dedicated to serving up a rough-edged groove! Lots of these numbers might be called post-R&B – as they still have some of the styles of the 50s, mixed with the tighter punch of the newborn soul sound – and the set's a wonderful illustration of this magical moment in music, finally getting some credit after all these years. CD features loads of tracks we'd never heard before – and titles include "Don't Knock It" by Sinner Strong, "You Lied" by Marva Josie, "Mr Lonely" by Freddie North, "When You See Me Hurt" by Carl Lester & The Show Stoppers, "Well I Done Got Over It" by Bobby Mitchell, "I'm Comin Home" by Bobby John, "I Ain't Talkin" by Pat Hunt, "This Little Lester" by James Wayne, "Why Oh Why" by Austin Taylor, "Rockin Bed" by Valerie Carr, and "I'm Hurted" by Mamie Perry.

Funky sounds from the Harlem scene – an incredibly rich collection of work from the Rojac and Tayster labels – a set so massive, it's like finding a box of rare funky 45s and deep soul singles in the back of some old record store! The package offers up way more work than we might have expected from our knowledge of a few key funk classics from the labels – a treasure trove of under-discovered gems from the grittiest years of the New York scene – most of them cut in the pre-disco years, with raw edges that almost feel more like southern soul and funk than other work from the Big Apple! This overstuffed set also comes with a sweet booklet of notes – really telling the tale of the labels and related enterprises – plus 44 tracks that include "Where Were You" by Kim Tolliver, "Meet Me Halfway" by Lillie Bryant, "Old Love Never Dies" by Big Maybelle, "Something Special About My Baby" by Clarence Reid, "I Love My Baby" by International GTOs, "No Better For Ya" by Jo Armstead, Love Love Love" by Chuck Flamingo, "Christmas In Vietnam" by Private Charles Bowens & The Gentlemen From Tigerland, "Everybody's Going Wild" by Curtis Lee & The KCPs, "Lovin Lies" by Third Guitar, "This & That" by Jo Armstead, "Don't Lose Your Groove" by Lavell Hardy, "Nwanne Nwanne Nwanne" by Aleke Kanonu & Tolbert The Miracle Man, "Lucky Man" by Damn Sam The Miracle Man, "Baby Don't Cry" by Third Guitar, and "Whip Ya" by Chuck A Luck & The Lovemen Ltd.

Funky sounds from the Harlem scene – an incredibly rich collection of work from the Rojac and Tayster labels – a set so massive, it's like finding a box of rare funky 45s and deep soul singles in the back of some old record store! The package offers up way more work than we might have expected from our knowledge of a few key funk classics from the labels – a treasure trove of under-discovered gems from the grittiest years of the New York scene – most of them cut in the pre-disco years, with raw edges that almost feel more like southern soul and funk than other work from the Big Apple! Vinyl version has 30 tracks on 2LPs: "Tuesday's Child" by Kim Tolliver, "Quittin' Time" by Big Maybelle, "Something Special About My Baby" by Clarence Reid, "I Love My Baby" by International GTOs, "No Better For Ya" by Jo Armstead, "What's My Chances" by Chuck Flamingo, "Get In My Bag" by Curtis Lee & The KCPs, "Lovin Lies" by Third Guitar, "This & That" by Jo Armstead, "Don't Lose Your Groove" by Lavell Hardy, "Nwanne Nwanne Nwanne" by Aleke Kanonu & Tolbert The Miracle Man, "Smash" by Damn Sam The Miracle Man, "Baby Don't Cry" by Third Guitar, and "Whip Ya" by Chuck A Luck & The Lovemen Ltd.

More than a decade's worth of music from the legendary Hi Records – and a great little set that goes way past the hits – and uncovers some overlooked singles from the legendary Memphis label! The cuts were chosen by Jaffa – who makes this Backbeats series look so great – and he's definitely got a great eye for an obscure single, especially the sort that shows us that Hi was even still great right around the fringes! Titles include "Pour On The Loving" by Jean Plum, "You Brought The Sun Back Into My Life" by Quiet Elegance with Dan Greer, "Back Into Your Heart" by Majik, "Happy" by Al Green, "Love Makes The World Go Round" by Willie Walker, "Mama Said" by Quiet Elegance, "Still Around" by James Fry, "Stepchild" by Veniece, "Ain't That Sharing My Love" by The Melodics, "I'm Gonna Stay" by Jean Plum, "What Made You Change Your Mind" by Eddie McGee, "It's You That I Need" by The Duncan Sisters, "Slidin In & Out" by The Memphians, "Love Trap" by Bobby McClure, "You Gotta Have Love" by OV Wright, and "Where's Your Love Been" by Donna Rhodes.

The third volume in Expansion's excellent series of fantastic soul from Philly – one soaringly melodic, soulful masterpiece after another – the best set yet! Expansion hasn't rushed these Spirit Of Philadelphia compilations onto the market – number 3 comes nearly decade sense we were knocked out by the first. We don't know if this time taking approach is what makes them so good or not, all we know is that it's totally great! Includes numbers by Tapestry, Ecstasy, Passion & Pain, Ghetto Children, Debbie Taylor, Major Harris, Sister Sledge, Brown Sugar and more – going way past the obvious hits! 17 tracks in all: "It's Not The World That's Messed Up" by Tapestry, "New To You" by Sharon Paige, "I Wouldn't Give You Up" by Ecstasy, Passion & Pain, "When You Look At Me" by Barbara Mason, "I Just Gotta Find Someone To Love" by Ghetto Children, "I Have Learned To Do Without You" by Debbie Taylor, "Help Me Find A Way (To Say I Love You)" by Little Anthony & The Imperials, "This Is What You Mean To Me" by Major Harris and more.

One of the best titles in this great series from the Chicago underground – a dozen tracks from as many generations, all linked together by a sweet mellow groove, of the sort that's dug by those on the stepping scene! Titles include "It's You" by Locksmith, "Chasing The Wind" by Gregg Karukas, "Excusions Beyond" by Excursions Beyond, "Love Temptation" by Liz Torres, "Baltimore Oriole" by Pat Thomas, "Walking Away" by Flora Purim, "Angeline" by Tom Browne, "Felix Leo" by Rodney Franklin, "Chillin Out" by Fatback, "Phone Home (inst)" by Johnny Chingas, "Embrace" by Society Of Soul, and "Movin On" by Paul Taylor.

Smooth modern grooves – and a great collection of tunes that break big on the Chicago steppers scene! There's a really specific vibe running through the set – modern soul with a mellow feel, but plenty of emphasis on the groove, no matter how slow the tunes may be – all making for a perfect batch of tracks to glide onto the dancefloor, and stay until the late hours! Tracks span a few decades of vintage, but tie together nicely – and titles include "Cool Out" by Leroy Hutson, "All We Need Is A Place" by Freddie Cole, "If It Isn't Love (inst)" by New Edition, "All True Man (inst)" by Alexander O'Neal, "Everytime I See A Pretty Lady" by Gemini, "Love Ain't No Holiday" by Native, "Jus Reach" by Galliano, "Ms" by David Oliver, and "Suger Mama Baby" by Steve Arrington.

Incredible work from the Philly scene of the late 60s – material from the tiny Uplook Records label, a company that only had a small number of artists in its roster, but all of them were great! The collection is put together a bit differently than others on the Grapevine label – in that it structures the set in different "chapters", to present each Uplook artist discreetly – offering up both sides of their best singles for the label, in a way that allows you to focus on their talents more closely. The Uplook sound is one that works especially well for male vocalists – who represent most of the work here – and there's a definite upbeat Philly style going on here, a precursor to Gamble & Huff that's totally great. Titles include some especially great early work by Teddy Pendergrass – the titles "We Got Love", "Angel With Muddy Feet", and "Should I Go Or Should I Stay" – plus "I'll Come Running Back", "What A Lucky Guy I Am", and "Heartbreak Of Love" by The Delegates Of Soul; "Candy Baby", "Love Wheel Turning", "Lucky Guy", "Give A Man A Break", and "Finders Keepers" by Charles Mintz; "Gotta Tell Somebody" and "Hooked On You" by Tony Talent; and "Running Back (inst)" by The Uplook Orchestra. 21 tracks in all!

The SOS Band's second album – and a masterpiece of 80s groove! The key word here is "tight" – as the whole thing holds together like a pile of money dipped in honey – keyboards, bass, percussion, and vocals all sweetly grooving with that post-70s funky feel that the group virtually helped invent. There's a few great mellow tracks on the set, but things are mostly upbeat and uptempo – and tracks include "Stay", "You", "There Is No Limit", "Do It Now", and "It's A Long Way To The Top".

Long tracks and plenty of room to move around – a perfect setting for the classic sound of the Red Garland Trio on Prestige! Despite the title, the album's not so much groovy as it is lyrically beautiful and filled with sensitivity – a key bridge between piano players of the mainstream in the years before Garland, and some of the bigger, bolder names that would rise up during the 60s soul jazz years. Rhythm is by Paul Chambers on bass and Art Taylor on drums – and the longer tracks give Chambers plenty of room to express his unique talents on the bass. Titles include "Gone Again", "Hey Now", "Will You Still Be Mine", "What Can I Say Dear", and "C-Jam Blues".

With Liebman on tenor, in an assortment of groups – with co-production from James Brown mainstay Pee Wee Ellis, who also plays tenor and electric piano, and co-wrote many songs! Leon Thomas also sings a bit on the record, too.

Very nice spacey soul from the late 70s Columbus, Ohio scene by Norman Whiteside's Wee – a mindblowing mix of jazz funk sophistication, harmony vocals and electric keyboard led psychedelic soul! Whiteside started Wee after the dissolution of Capsoul Records, where he was an important figure to say the least – and here he's working with a great group of Columbus players harmony vocals in the frontline, backed by some great jazzy arrangements, with slight touches of a Mizell groove. Many of the tracks have a mellow midtempo feel, and some really innovative use of electric keyboards and flanged production on the vocals. A fantastic rediscovery from the fertile 70s Ohio scene! This stellar Asterisk reissue of the 9 track original Owl LP extends the tracklist to 19 songs – including a bunch of previously unreleased tracks – with "I'm All Changed", "Alone", "Put It In Real Good", "Leavin You Alone", "Try Me" (album and 45 versions), and "Find Me, Love Me", "Stay", "Trying To Tell You How I Feel", "I Luv You", "Do You Know", "I Think I Am In Love With You" and more.

A monumental piece of funk – and a record that came into the world at a time when it seemed like just about everyone had forgotten how to play real funky music! This set's the US version of the first album by London scenesters The Brand New Heavies – and although it came out in the states 2 years after the UK set, it's essentially the same record – just featuring new vocals by singer N'Dea Davenport in place of the original vocalist Jay Ella Ruth. Davenport's vocals transported the group from indie acid jazz obscurity into the US soul charts in a way that nobody ever expected – and the resulting album is a stone classic that's filled with excellent cuts like "Ride In The Sky", "Never Stop", "Dream Come True", and "Stay This Way". Great stuff all around – and one of the few classic soul albums of its generation!

A masterpiece of funky soul – and one of the greatest albums of the early 70s! It all comes together on this one – funk, soul, politics, and production – and the record is still one of the clearest examples of James Brown's genius that you'll ever find! Recorded during the same sessions as the JBs album Damn Right I Am Somebody – Payback has the group backing James with amazing intensity, playing on and on for very long stretches, improvising jams that perfectly match the vocals, which are often as improvised as the music. The most famous example of this style at work is "The Payback", which begins with a simple head arrangement, then has James riffing off on politics and power, letting the band come in at just the right moment, dropping solos that are still some of the best ever recorded on a funk album. The rest of the album's equally great, and even though most tracks run close to 10 minutes, and the album's a 2LP set, most of the material stays fresher than any 3 minute funk record we've ever heard. Some tracks are separated by these cool voices that rise up as seques – and titles include "Stone To The Bone", "Mind Power", "Take Some Leave Some", and "Shoot Your Shot".

Clarence Carter's first few years of Fame Studios singles – simply put, some of very best southern soul of this or any other period – both sides of each single Clarence cut with Rick Hall at Fame from 1966-1973! Recorded at the vaunted Muscle Shoals studio during the peak years of the facility and Clarence's career – what more can we say? The production and arrangements by Hall personify the sound and style of the southern soul era – and Clarence's capability to truly emote, as well as demonstrate a sly wit and unique personality – ultimately transcending all trends at the time! Absolutely essential material and it sounds as great as ever – with mastering direct from the Fame masters tapes too. Includes "Tell Daddy", "I Stayed Away Too Long", "Thread The Needle", "Too Weak To Fight", "Let Me Comfort You", "Back Door Santa", "Doin' Our Thing", "Take It Off Him And Put It On Me", "The Few Troubles I've Had", "I Can't Leave Your Love Alone", "Funky Fever", "Snatching It Back", "Devil Woman" and more.

Jimmy Castor's looking mighty butch on the cover of this one – what with the leather and motorcycle in the photo – and he's bringing all that energy to play strongly on the album's heavy heavy funk tracks! The record's a great extension of the funky style that Castor first started forging at RCA – touches with plenty of Jimmy's multi-instrumental touches on tenor, alto, and timbales – and given that great monster-inspired approach to lyrics – which ensures that the whole thing stays plenty vivid throughout! Vocals are nice and rough, and the instrumentation is heavy on basslines and clavinet – on titles that include the two part "Dracula", plus "Super Love", "I Love A Mellow Groove", "E Man Groovin", "I Don't Want To Lose You", and "Space Age".

An amazing pairing of talents! Funk vocal giant Ricky Calloway works here with backing from The Dap Kings – recording in the Daptone studios, with production from Kenny Dope! All the cooks on board definitely don't spoil the broth – and instead, the cut may well be the sort of number we've been waiting to hear for years from Ricky! "I'm In Love" is presented here with parts 3 and 4 – which we don't think were on any previous singles – and is a stone monster too!

Sublime soul through and through – 2 classics from The Delfonics, back to back on a single CD! First up is self-titled record The Delfonics – the third album in an amazing early run from The Delfonics – the kind of work that set a whole new standard for group soul in the 70s! A number of the tracks here had already risen to fame before the album's release as singles – and these are mixed with some additional tracks that are woven together in a near-perfect symphony of sound! The mighty Thom Bell arranged most of the numbers here – save for 2 by Anthony Dorsey – and the group's heavenly harmonies are in amazing form on both mellow ballads and a few more righteous numbers. Titles include "Didn't I Blow Your Mind This Time", "Funny Feeling", "Over & Over", "Baby I Love You", "When You Get Right Down To It", "Delfonics Theme", "Trying To Make A Fool Of Me", "I Gave To You", "Down Is Up Up Is Down", and "Think About Me". Tell Me This Is A Dream has The Delfonics just getting better and better! The longer the group recorded, the more they picked up this strange spacey quality that pushed them past some of their contemporaries of the early 70s. And on an album like this, they prove that they're way more than just Thom Bell puppets by showing that they have a rich talent for a wide variety of complicated arrangements that really push the vocal group sound of the 70s. They take many stylistic risks, coming up with really sinister new harmonies, and always managing to stay clear of the cliches that buried some of their mates on the charts. Bell still arranges some of the material, but the record also features work by Norman Harris and Caldwell MacMillan, who did the real genius work on the record. This masterpiece includes the sublime "Hey, Love", plus "Walk Right Up to the Sun", "I'm A Man", "Too Late", "Love You Till I Die", "Looking for a Girl", and "Round & Round".

Do not buy this expecting hissy, atonal blip hop – El-Producto is the marquee name here, but this is decisively a late model avant garde jazz record – and a pretty sweet one at that! As with many of the better records in the Blue Series, Matthew Shipp's piano rolls through the center most of the time, loosely keeping the groove going so the crack group can improvise around the edges. Blessedly, the group is more than happy to keep an underlying melodicism at the core – it's always a little ragged, but never too self consciously out. The usual Thirsty Ear subjects are in the mix – Guillermo Brown on drums, Roy Campbell, William Parker on bass, and Steve Swell on trombone. "Produced, arranged, composed and mixed" by El-P – which seems like a pretty heavy workload, but we think he fleshed ideas out with the group at the stage of conception, and let the boys do what they do, largely improvising the results. And you really can feel El-P's intellectual presence in spots, particular the sudden shifts in drum patterns, which kind of mirror the producer's penchant for drivingly broken beats. Regardless of whoever is most responsible, it's a very nice record. It's interesting without trying too damn hard to be weird, and melodic without being too cloying. Tracks include "Please Stay (Yesterday), the epic "Sunrise Over Bklyn", "Get Your Hand Off My Shoulder, Pig", "Get Modal", "Intrigue In The House Of India", "Something Is Wrong", "When The Moon Was Blue" and more.

Without a doubt, Benny Golson is one of the most underrated tenorists of his generation – a player with a tone and conception that's always tremendous – but which comes across especially well on this early 60s session for Argo Records! As you might guess from the title, things aren't as tightly structured as on some of Benny's more arranged albums of the period – and he opens up wonderfully in a small group setting – playing in a beautifully confident tone, but with a slightly raspy edge – cutting, changing, and swinging perfectly in lines that are masterfully crafted, yet full of raw emotion. The group's a thoughtful quartet, and includes Tommy Flanagan on piano, Ron Carter on bass, and Art Taylor on drums – and tracks that inlcude "Sock Cha", "Shades Of Stein", "Just By Myself", and "Just In Time".

A long buried treasure trove of southern soul from deep deep down in the Muscle Shoals scene – gritty, beautiful, powerful work by Mary Gresham – an unjustly unknown singer who we'll put way up there with very best female funk & soul vocals of the 60s, 70s and beyond! Mary found modest success on a couple of late 60s singles with singing partner Chuck Cooper, recorded as Chuck & Mariann, for the A-Bet label at Fame Studios – tunes that start out this collection – but the vast majority of this material is seeing an official release for the first time ever! She stayed busy over the years as a session backing vocalist, but she's a wonderful leader on these tunes – backed solidly by the horn accented Muscle Shoals brand of gritty southern soul – and it's unbelievable that this great stuff is only now hitting shelves. Loads of powerhouse soul, and the best kind of natural, truthful balladry – with Mary's vocals just killing it out front! 24 tracks in all: "Let's Walk Down The Street Together", "The Woman In Me", "Going Through The Changes", "Motivation", "Just Me And You", "Spend A Little Time (Loving The World)", "Get On Back On The Right Track", "Rainin' In My Heart", "Use Me", "I Want To Be Loved", "Promises Are Not To Be Broken", "We Are So In Love", "So Many Ways" and more!

A moodier session than usual for Griff – but in a nice way – and one that's cut with Buddy Montgomery on vibes and piano, and handled in a laidback soul jazz mode that's a refreshing change from some of his sharper hardbop sides! Highlights include the extended original "Slow Burn", plus renditions of the classics "Do Nothing Till You Hear From Me" and "The Midnight Sun Will Never Set". The group's completed by Monk Montgomery on bass and Art Taylor on drums – and in a way, the album sort of feels like one of Monk and Buddy's Mastersounds sessions, with the added touch of a horn player!

An excellent record from Hiss Golden Messenger – who blend rootsy, but freewheeling instrumentation with artful, ambitious songwriting – and they're one of the most creative groups around making brilliantly original music that still hold true to southern folk and roots history The anchors are singer/guitarist/mandolin player MC Taylor and guitar and bass player Scott Hirsch – but the music is fleshed out by a large group of great musicians on a diverse list of instruments – piano, Rhodes and Hammond on the keyboards spectrum, banjo, fiddle, pedal steel and and array of acoustic and electric strings, sax and more. In a way, it's the mix of traditional reverence and straight up newness is reminiscent of The Band in the late 60s and early 70s – but they ultimately have a vibe all their own. Includes "Red Rose Nantahala", "Sufferer (Love My Conqueror)", "I've Got A Name For The Newborn Child", "Devotion", "Hat Of Rain", "The Serpent Is Kind (Compared To Man)", "Cheerwine Easter", "Busted Note", "What Shall Be (Shall Be Enough)".

A mostly instrumental Exhibit from the mighty K Def – and a top shelf slice of timelessly inventive, head nodding hip hop production! Great stuff with prominent beats that pull you right in, but there's a lot more going on in the mix – sinister bass lines, moody keys, bits of guitar and more. It kicks off a pair of strong tracks with guest MCs – "Exhibit 2A" featuring Seven Shawn of World Renown and "The Fundamentals" with Blu & Quartermaine – and the instrumentals include "Improvs From The Brain", "Mind Boggled", "Get Your Mustard", "Relay The Piece", "Lost My Thought Part 1", "Stay Thinking About Music", "Chord Tester", "Rock It", "Lost My Thought Part 2" and more. 17 tracks in all.

One of the greatest Kool & The Gang albums ever – a monster live session that almost blows away their studio classics! The groove here is far more freewheeling and complex than some of their singles from the 70s – longer, tripped-out tunes with a definite undercurrent of jazz amidst the funk – loads of wicked horn bits from Ronnie Bell and Dennis Thomas that complicate things up nicely, while still staying soulfully in the groove. There's no vocals at all on the record – which further enforces the Kool Jazz sound of the set – and the album's even harder-hitting than their previous Sex Machine live album, so much so, the PJ's club had to close its doors shortly after the Gang's performance! Titles include the all-time killer sample cut "Duji" – plus "NT", "Ronnie's Groove", "Ricksonata", "Lucky For Me", "Sombrero Sam", and a medley of "Ike's Groove/You've Lost That Lovin Feeling".

Wonderfully baroque funk from the great O'Donel Levy! The album's got some very cool arrangements by Manny Albam that mix together strings and funk – in a super-dope way that sounds a lot like the work coming out of Cadet during the late 60s – and the rest of the set features Levy playing with a smaller group, one that includes Chester Thompson on drums and Charles Covington on organ. The approach is great on both types of sets – complicatedly funky, in a way that's held up incredibly well over the years – and which warrants greater discovery of Levy's work from the time. The album's got covers of "We've Only Just Begun", "Let's Stay Together" and "It's Too Late" – plus some groovy originals like "Cherries", "The Chocolate Horse", "Ideal", and "Breeding of Mind".

A jazzy soul masterpiece from Webster Lewis – light years away from the rougher funk he cut at the start of the 70s! The album's beautifully put together – almost perfect at all points, at a level that we'd rank right up there with the best work by Leroy Hutson, Roy Ayers, or other contemporary maestros in the studio. Unlike some of the more commercial artists of his generation – who also came to soul through jazz – Webster doesn't push the hooks too hard, nor try too much for a hit. And instead, he's more than happy to stay in his own righteous space – with a sound that's smooth, but never slick – tight, but not uptight. He's got some great help on the record – including keyboards from Herbie Hancock and Skip Scarborough, guitar from David T Walker, and percussion from Willie Bobo – all of whom keep things cool. Vocals are handled by a number of singers, including Webster himself – and titles include "Bout The Love", "Let Me Be The One", "Love Won't Harm No One", "El Bobo", "Kemo Kemo", "A Quiet Thing", and "Flying High". CD features 2 bonus tracks – "Reach Out" and "Boston".

One of our favorite albums ever – and every track is a masterpiece! The album was originally cut for the tiny Chiaroscuro label in 1977 – and it's got a sound that's unlike anything else we can think of – soaring, soulful, jazzy, and righteous – wrapped up in a blend that's never been done this perfectly again! James Mason's a player who's know for a bit of keyboard work with other artists – but here, he's really working as a collective power – bringing together a brilliant ensemble that work as one to hit some sublime sounds – much in the way that Roy Ayers could work some key magic with his groups at the same time, but with a vibe that's very different too. Players include Ayers associates Justo Almario on saxes and Philip Woo on piano – and a young Narada Michael Walden adds some excellent drums to the record – a lot more powerful and funky than on most of his own albums! Lead vocals are by Clarice Taylor – who's got this unique voice that really makes the record – proud, but sensitive at the same time too – and Mason plays lots of Fender Rhodes, polymoog, Arp, and a bit of guitar. Titles include the breakbeat classic "Funny Girl", the monster groover "Sweet Power Your Embrace", the funky "Slick City", and the massive "Free" – but every cut's a winner, and others include "Mbewe", "Rhythm Of Life", and "Dreams". This is the kind of album that makes us proud to be in business! CD features great bonus tracks too – an unreleased 1977 mix of "Sweet Power Your Embrace", the single mix of that track too – and the later grooves "I Want Your Love" and "Nightgruv".

Sly's leaping into the air on the cover of this one – and for good reason too, given the overall groove of the set! The album's a bit more stripped-down and upbeat than the previous few – almost more of a return to the simple funky style of the first albums, but with a slightly more electric sound than before – especially in the keyboards, which almost slide into the mix here with a Stevie Wonder-like quality. The electricity bubbles and brews wonderfully at the bottom of the rhythms – charging things up a bit, but still hanging back with a super-cool, laidback quality that few other groups could muster! There's a great sense of balance here that's brilliant – and which makes the album one of Sly's undisputed masterpieces from the Columbia years. Titles include the incredible "If You Want Me To Stay" – one of our favorite Sly Stone cuts ever – plus "Keep on Dancin", "Babies Making Babies", "Que Sera Sera", "If It Were Left Up To Me", "In Time", and "Let Me Have It All".

Heavy, hard grooving rare funk from Soul Dynamics! "Stay In The Groove" is a monster – with a powerful horn section bring some incredible heat over funky drums, rumbling bass and gritty vocals. Raw, intense and soulful funk of the first order!

A sweet set from Johnnie Taylor's late 70s run on Columbia Records – and a set with a definite groove for the dancefloors! The album' was recorded in Detroit, and features some sparkling production from Don Davis – very much in that Detroit-into-disco mode that Davis was pushing strongly at the time – in a way that was smooth overall, but still let the singers keep all the edge and personality in their vocals! Arrangements are by Rudy Robinson, in collaboration with a number of others – and titles include "Hey Mister Melody Maker", "Ever Ready", "Keep On Dancing", "Give Me My Baby", "Soul Fillet", "I Love To Make Love When It's Raining", and "Bittersweet Love".

Sublime work from pianist George Wallington – and one of his best albums ever! The set's also one of the few he ever recorded as a leader outside the trio format, and has him working with a very hip quintet that features Phil Woods, Donald Byrd, Teddy Kotick, and Art Taylor – all players that help push the record with a tremendous amount of hardbop and modern jazz energy! Byrd and Woods are at their best youthful prime on the set – and the longish tracks really give both artists room to stretch out and show off their talents! Titles include "Foster Dulles", "Together We Wail", "Our Delight", and "But George".

Ben Webster and ballads – what more could you want? This nice 2LP set brings together some fantastic Webster work from his mid 50s years at Verve – featuring larger arrangements by Ralph Burns and Billy Strayhorn, plus small group playing with Teddy Wilson. At face value, the set is nothing fancy – but Webster's tone is incredible, drenched in soul and emotion, especially on the tracks arranged by Burns. Titles include "Prelude To A Kiss", "All Too Soon", "Chelsea Bridge", "Love Is Here To Stay", "You're Mine You", "Love's Away", and "Sophisticated Lady".

Raw tunes from the late 50s and early 60s – a smoking collection of rare rockers, raunchy R&B, and some early soul numbers too – all served up in a totally sweet 10" vinyl package! The set's from the same folks who gave us the excellent Beat From Badsville series – and like those great collections, this one's got a vibe that takes us back to some of the Stompin sets from earlier years, and which also makes us feel like we've discovered some hipster jukebox from many decades back – stocked with vintage wax with a mighty nice edge! Titles on this volume include "Ain't Gonna Let You In" by Paul Gayten & Annie Laurie, "You Look Bad" by Danny Taylor, "Am I The Man" by Bobby Lester, "Stack A Lee (part 1)" by Archibald, "Bamalam" by Du Droppers, "Showdown" by Tony Casanova, and "You Ain't Got Nothin" by Connee Boswell.

Tripped out jazz and funk! This great little set features some gems from the late 60s/early 70s years at Atlantic, Warner, and Elektra – and has a focus on tunes that draw more than a bit of influence from the fuzzed-out, long-haired late 60s scene. You're bound to recognize a few of the names on the set – but what you'll really appreciate is the way the tunes come together, grooving hard with a mixture of heavy jazz and trippy elements – staying soulful in most parts, and even hitting a bit of funk at just the right moments! Titles include "Back Home" by Yusef Lateef, "Threnody For Sharon Tate" by Freddie Hubbard, "Smoke Signals" by Eddie Harris, "Sorcery" by Charles Lloyd, "Mirror" by Charlie Mariano, "Raymond Winchester" by Yusef Lateef, "Freaks For The Festival" by Roland Kirk, "Vibrafinger" by Gary Burton, and "Spontaneous Simplicity" by Sun Ra.

This is a late 60's reissue of an early 60's album originally titled In A Minor Groove. These tracks show Dorothy at her early best, and jamming (yes, that's right, jamming) on the harp along with her quartet that included Frank Wess on flute, Herman Wright on bass, and Art Taylor on drums. And while the idea of a harp/flute lineup might sound a bit snoozy to you – this isn't some west coast poofy session, but a nicely soulful batch of tracks that shows that the right group can make any set of instruments swing! Titles include "Rascality", "Taboo", "Yesterdays", and "It's A Minor Thing".

One of the funkiest tunes we've ever heard from Charles Bradley – thanks to some killer drums on the intro, and this wild psychedelic guitar as well! These instruments set a perfect scene for Bradley to really let loose on "Stay Away" – with these blistering vocals that have a late 60s sort of deep soul energy – totally amazing, and pushing our respect for Bradley even further! The tune's a cover of a Nirvana tune – in case you didn't know it – and the flipside features a continued instrumental take on the groove!